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Originally a lively peasant dance of France’s Brittany region, the gavotte evolved into a fashionable court dance in France and England in the 17th and 18th centuries. Like the branle, a popular 12th-century French folk dance to which it is related, the gavotte was traditionally performed by a group of dancers who formed a line or circle. In both dances, the dancers moved sideways, but the steps of the gavotte required that they cross their feet twice in each step pattern, with each step followed by a hop. Singers often provided the accompaniment, though dancers might also be accompanied by an ensemble of such instruments as a violin, a drum, and a bagpipe or shawm, a precursor of the modern oboe.

The gavotte was danced in high-society ballrooms as a round with skipping steps. Couples also danced a version of the gavotte, concluding their performances with a kiss. Later the dance developed more formal figures, and flowers were exchanged instead of kisses. The gavotte of the 18th-century French court, for example, was a slow, stately dance in 4/4 time, with upbeats on beats 3 and 4. More ornate variations gradually developed, including theatrical dance pieces.

The rhythms of the gavotte were commonly heard in French vocal music of the 17th century, in sacred music as well as popular songs. By the mid-18th century, the gavotte had become one of the most popular instrumental forms to have evolved from a dance. In a suite of dances, the gavotte appears among the more lighthearted movements called galanteries. It is usually a three-part composition written in the vigorous 2/2 rhythm of the early gavottes, though it retains the two upbeats found in later versions. Its second section is a musette, a pastoral melody so named because the drone bass that plays throughout suggests the tone of a small bagpipe called a musette. Among the many composers whose works include gavottes are Henry Purcell, François Couperin, Johann Sebastian Bach, George Frideric Handel, and Christoph Willibald Gluck.

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